Humanities Homework Help
ART 110 UMGC 9 Step Value Scale with a Gradation of Tones of Gray Project
- Value Scale
- To begin, in your sketchbook, make a nine-step value scale containing a gradation of tones of gray, starting with white on the left and ending with black on the right. Use the width of your ruler to draw a nine-inch rectangle, and then divide it evenly into one-inch segments. With your #4 graphite pencil, try to fill in each square so there is a gradation from light to dark. You can use this scale later to assist you in seeing the values in your drawing of a ball.
- You will also need to consider your light source. In unit four, we discussed how to optimize the lighting for your still life. Ask yourself: What direction is the light source coming from? How strong is the light source? How does this affect the light and shade found on the objects being drawn?
- Ball
- Start by placing a white ball and a white box on a table covered with white paper or cloth. Your directional light source should be coming from the upper-right or upper-left side, at an angle to the still life.
- Holding up your value scale and squinting, you should see a variety of different shades on your still life that correspond to your scale.
- Looking at the white ball, first identify the highlight—the small area where the beam of light is hitting the ball directly. This will be the only area of the ball that will remain white on your paper.
- The area immediately surrounding the highlight will be very light. Here, the light is glancing off the edge of the ball and casting a substantial amount of light onto the ball. Using your value scale, this area will correspond with the value next to white.
- As the edge of the ball turns away from the light, the surface goes into shadow. Depending upon where you are sitting in relation to the light source, the area of shadow might be over half the surface of the ball.
- In the center of the shadow will be the core shadow—the area that is receiving the least amount of light.
- The cast shadow is the shadow on the table/ground. The ball is blocking the light form shining on the surface, and thus the ball casts a shadow.
- Depending on where the light source is directed from, the cast shadow can be very long, very short, or anywhere in between. Observe again and notice that the shadow is actually reflecting back onto the surface of the ball, creating a reflected shadow.
- The area around the cast shadow that is still getting light is reflecting that light back onto the ball. The amount of reflection you can actually see is dependent on the surface of the form. If your ball or other form has a matte surface rather than a somewhat shiny surface, the reflected light and shadow will be invisible.
- Squinting at the box, identify the highlight, light, shadow, core shadow, and cast shadow. If the surface is somewhat shiny, you may also see reflected light and reflected shadow.
- Within a single form or volume, we may see some parts as light against dark and other parts as dark against light. If you have a white object against a light wall or in front of another light shape, its edges may blend or disappear. You will draw the contour edge with only a very faint line.
- Cast shadows can cross over negative space and travel onto other objects. The edges of the object within the cast shadow can also disappear.
- Use vine charcoal and newsprint to reproduce this simple still life using values.
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